Artnatic Magazine - Color Celebration

Salvador Dalí Hundertwasser Philippe Starck A visionary and & Magritte A world-famous creator „See what they see“ pag.42

creator of art pag.24

of multifaceted inventiveness. pag. 80 1

Dina Garcia Ruben Zacarias Simone Simbine

WWW.ARTNATIC.COM 2

Gallery of Fragrance Seven artists were inspired by the Jungle fragrance to create their masterpieces.

Choose yours to illustrate your perfume!

Luciana Lima

Mauro Kersul

Maria Vieira

Claudio Cardoso

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C e l D E R Athius da Cruz Mendes Director / Graphic Designer

Denise da Cruz Campitelli Manager

Angela Cardoso Editorial Director

Gustavo Soares Graphic Designer

Ariane Nascimento Translation

Sandro Vita Review

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r Ce lauching our second edition lebr of our print and digital magazine. And atio n“. D we have been growing since 2014. Creating alí, M Exhibitions, Products, Representation and other types agr of colaboration with workes of the Arts. At Artnatic we celebrate itte , the same way we work. Full with colors and diversity. You can join.

No invitation needed. Just keep on ;) Athius da Cruz Mendes

YELLOW

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Index page 24 page 10

Friedensreich Hundertwasser a visionary and responsible creator, mobilizes the power of his art in order to spread his message for.

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Renato Soares The indigenist photographer

Debora de Souza Denecke making people more beautiful and happier

page 76 Ariane Nascimento, transforms letters in messages that touch the soul.

page 90

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Joelma Thompson Wirz Special perfumes.

MEGAPLEX Art in 16 countries, 22 cities.

1989 Megaplex Worldwide Exhibition November 14 - 16, 2019

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FAM&EVENTS Asbl, a Belgian Corporation, is proud to invite Artists, Galleries, Organizations, Institutions and Universities to participate in our new project, the “1989 MEGAPLEX WORLDWIDE EXHIBITION”.

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Samira Vera Cruz, she 1. Objective Philippe Starck, a worldfell into the world of Sandro Vita,Colors famous creator of multifaceted Fam&Events, Asbl (hereby called “Organizer”) has the objective of encouraging and cinema.

Shades inventiveness. diffusing the visual arts and promoteand a reflection about humanity life changing events worldwide in our past 30 years that had its origin in the year 1989 and the consequences of said events that influenced and shaped our present. This exhibition is an exposé of said events in the artists eyes. Every medium is welcome and the theme pertaining to the year 1989 is of the artists’ choice.

page 73 Karina M. Kimmig , If life were a colour, what would it be?

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page 70 page 72 Bruno Fernandes, a talent in Brussels

Sheila Roza, the woman who manages the arts at grandiose events.

page 34 Marcos Amaro, founder of the Kogan Amaro Gallery, visual artist, art collector, president of the FAMA Museum and the Marcos Amaro Art Foundation.

page 48 Denise da Cruz, UPcycling sculptures almost a lace in plastics.

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Cunsuli, the energy comes from colors and shapes.

DalĂ­ and Magritte both aim to challenge reality im ROYAL MUSEUMS OF FINE ARTS OF Brussels

page 56 Maria Hilda, curator and holistic therapist

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AmĂŠlia Aeberhardt, multitalented artist

page 57 Marione Matta, When art and medicine meet.

Art As Placement

page 66 Lucilene Lisboa Rehberg, A conceptual photograph

page 69 Luiza Helena Trajano the art of managing almost 1,000 stores in Brazil

page 60 Welcome to the magic world of ZURCAROH

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Renato Soares The indigenist photographer

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the look of the earth, the strength of fragility

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palace to touch the stars 14

lines of war lines of life lines to live 15

between light and shadow 16

utopian place that needs to remain real 17

Interview with photographer and indigenist RENATO SOARES. The question that could not be missing was to know when you started thinking about being a photographer and why did you choose this profession?

RS: Photography came naturally and when I came across the power of image, when I was 16 I said to myself: I am a photographer! At that age, the desire was so strong that photography already belonged to me and I belonged to it. There is no explanation for when these things happen. Photography boosted me up to have the life I Always dreamed of and continue dreaming about. It takes me to the forest, close to the animals and the indigenous peoples that have always fascinated me. For me, photographing is like breathing!

And seeing the pictures he has we get a good dose of fresh air. The photos convey magical moments. And why the indigenous world?

RS: The identification with the indigenous universe comes from childhood and it was consolidated in the first contact with tribes in remote areas of Amazonas and also through the deep friendship that I keep with the sertanista1 Orlando Villas Bôas. Orlando told me stories that he lived from a magical world, about men and women living in contact with nature and in societies where the elderly and the children are respected.

When you see a photo, what catches your attention?

I thought it was the details, but I was wrong.

RS: The thing I observe more in a photo is not the details, but the set of information it brings. In other words, the power that this image has to tell a story.

When I shoot, I get involved in the story that is happening in front of the lens. As if I were, in fact, part of that space-action. I look for lights, frames, drawings and movements. It’s not just clicking!

I think the presentation of the photos is very important! What support do you prefer: paper, canvas, multimedia projection?

RS: To tell you the truth, all the supports are good, and are chosen depending on what it’ll be presented. The important thing is that both prints and multimedia presentations are well produced, 1 Sertanista is a common Brazilian word used to designate the one who enters the hinterland in search of wealth. Person who deeply knows the part of the territory furthest from urbanized areas.

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I mean, with the technical rigor for an excellent impression. The same happens with projections. I don’t give up on the quality of all the material used in production. But I can also be positively surprised by some innovations. I found it fascinating to see one of my photographs reproduced by a graffiti artist in Portugal. I’ve had my works used by plastic artists and even as a source of inspiration for poems. As I said, the important thing for me is the strength of the image and the power it has to tell a story. More than that, messing with people, provoking emotions, making them smile or cry.

Touching feelings hidden inside them.

As always when I talk to a photographer, I think about how he would like to be photographed. And with what kind of light ...

RS: That sounds a little fun to me, because I can’t imagine myself being the subject of the photography.

But I like natural light because I like to compose from light, not the environment. The light drawing and creating the environment in its forms. Now I’m the one who asks : what about colors? Do they inspire?

Can they be seen or do they need to be guessed?

Light and shadows, colors, shapes, movement.

Photographing is to understand what is being photographed almost instantly. Inspiration happens in many ways. Even in a dream or a passion. Inspiration is what moves you to reach your goals.

You have an incredible job with the indigenous people ... I wonder if you see yourself as a Brazilian photographer or a universal photographer. That is, is there any boundary between seeing with Brazilian and neutral lenses?

RS: I believe that borders are barriers created by the division of power. Living with the Indians, an important lesson taken was to understand that we should not own anything, we should be free as the wind. Borders are barriers to creativity. And I loathe it!

What about the photographers you admire or the one who gives you inspiration?

RS: Ah... I really like the work of Ansel Adams, Pierre Verger, Maureen Bisilliat, Evandro Teixeira.

W. Eugene Smith, Walter Firmo, Diane Aubus, Rogério Reis and many others. There are many different looks.

If you had to photograph a song, how would you do it?

RS: This question is very interesting, and is is a focus that I always try reach. Actually, I do photography with the intention that viewers will also listen to music. The search for the perfect image: composition, rhythm, colors, shapes, feelings and everything we bring into the dark box.

EXHIBITIONS AND PUBLICATIONS: Renato Soares’ photographic work has already appeared in important exhibitions such as “O Último Kuarup” - Masp / 2006 and in the itinerant exhibition “A Última Joranda de Orlando Villas Bôas”, which toured 12 Brazilian capitals. His talent was also recognized in Paris in a press conference at the Palais de la Découvert.

His first book was “Krahô, Os Filhos da Terra” (1996). And many others came, including “Pavilhão da Criatividade” (1999), “Sondagem na Alma do PovoM” – partnership with Maureen Bisilliat; “Mar de Minas” (2008), a portrait of the 34 municipalities surrounding Lago de Furnas; “Universo Amazônico” (2012, SP); and “Minas Além das Gerais” (2012, MG). Currently, he dedicates himself entirely to his project “Ameríndios do Brasil”, which seeks to rescue through photography the best of our ancestral culture. The work aims to create and build a large Brazilian ethnophotographic collection.

the colors of the earth, matter and dream

He has not yet had an authorial exhibition abroad.

Not because of a lack of opportunity, but because he preferred to dedicate those lastt 20 years creating a consistent work. Today, he believes that he can present his work in a more mature and full way. “At the moment I am preparing to go more often to visit the countries in Europe to show my work and the importance of the Indians in protecting the great Amazon rainforest and the planet itself”, he comments. The photography that Renato Soares makes brings in his discourse the beauty of humanity. He photographs the essence. It shows the most beautiful things about our humanity and ancestral culture. “It is like a mission. It is not to show the harshness of life. War photography did not end wars. Showing the suffering Indian will not take away his suffering. But perhaps, by showing the beauty and all the delicacy that exists in life, it will make people want to preserve it ”, he stresses.

I don’t know how to take photos, so I tried to build this interview like someone who makes embroidery.

Renato sent me the images and the words and I lined them up. I can’t help saying that he also organizes workshops, debates, etc.

Be sure to get in touch with him, you will be. delighted.

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From the initial dream about becoming a sheriff since studying law was a desire to do things with order, willpower, and not being afraid to be rigid and bossy, as she says. She arrived in Germany and wanted to study, but at her age and with the difficulties of the region, she did not have many options. She tried to enroll in a makeup course, but the gentleman who was receiving the enrollment put many obstacles: it would not be easy, it had many subjects... it was like a cold shower, really cold.

But instead of just lamenting, she took care of herself. One day she went to a manicure, to have her nails done, and there she met some friends -the ones that everyone should have.

They encouraged her to try to do the training course in France, since she could speak French and there would be more options.

DĂŠbora de Souza Denecke DS - Make Up Artist Stage name: (Debybinharmakeupartist)

PHOTOS: JESSY BEZERRA AND RAYSSA AZEVEDO

„DS“ in French makes a „jeu de mots“ (play on words) means Goddess and what she does is, in fact, making people more beautiful, happier.

Where does she come from? From ParĂĄ.

Exuberant place, full of flavors, colours sunny, very sunny.

How did she end up in Europe?

First, she traveled around Brazil. Her adoptive father used to work traveling and her family and her followed him. It was good to know Brazil, but not only. They also travel abroad around the world. And among all those places is French Guiana.

A time that would be remarkable in two ways: learning French and seeing another reality, but also a terrifying moment because when she was only 15 years old her dear mother passed away.

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And so the new life began. What was suppossed to be just a one-week test, it became a-twoyear living in Paris and a new career ahead.

DS - Debybinharmakeupartist is the name of her company - Debora de Souza Deneckeshe doesn’t have a fixed point, she goes to “Mobilemakeupartist“ customers. She has been to France, Austria, Germany, Holland, Switzerland, Liechtenstein and also Brazil.

She was part of the team at Rio Carnival twice, this year with Unidos do Viradouro being the official Godmother of makeup bringing products from the great German brand Kryolan and they reached the second place in the twotime fashion show, and won the award for Best Makeup Artist, it proves that her work is getting strongly in the samba capital. It was an opportunity to exhibit her work on display and in a place that is a showcase for the world.

In her work she also wears the T-shirts she created, the lipstick to add color, to brighten her smile. More than advertising people love the company logo: a kiss. đ&#x;’„đ&#x;’‹ But, she is not content with just doing her makeup every day, she also graduated in Make-Up Professional Filmmaking, she is always improving and moving forward.

I asked her if she had a brand of preference, she says she really likes: “Kryolan Deutschland� a brand from Germany.

In this conversation with a professional in the make up area, those famous tips that we always love to learn could not be missing, and here they go:

In her case, she can‘t miss: Lipstick, pencil, primer (base) 5 brushes Kit Brushes: Some brushes are essential and you will feel a lot of difference when applying make up. The most basic ones are: Blush Brush, Powder Brush, Base Brush, Brow Brush and a translucent or compact powder to seal the skin.

Before going to make-up, it is very important to prepare your skin. Wash your face well with a soap suitable for your needs and, if you go out during the day, don‘t forget the sunscreen. Ah! Don‘t forget: hydration is the key to achieve a natural look when applying make up. „Nude, red“ No kit is complete without the basic lip colors, these two shades are universally flattering and versatile! Having a gloss in your kit is also really cool to finish the lipstick with a touch of the moment‘s glow.

What about the linguettes on the market for

removing makeup? What do you recommend?

The answer was quick: For a start, it is good, but it doesn’t do without: What is important to me when it comes to having a super “makeup kit đ&#x;’„“, is to have products that clean, moisturize, and protect your skin. Having a cleanser, toner and a good face cream suitable for each type of skin are essential to maintain the health of your skin. The sunscreen is also super indispensable, regardless of whether or not you have makeup on.

And at the end of the conversation I asked about her plans for the end of the year.

She told me that she won a prize as a makeup artist in Paris, France and to close the year in great pomp, she goes to Rio de Janeiro for an exhibition of make-up human works of art - in honor of Rio‘s carnival. Models are going to wear the exclusive DS’s makeup (Debybinharmakeupartist).

Success is guaranteed and we will have much more out there.

always looking for beauty

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All images: (c) 2020 Namida AG, Glarus, Switzerland

Hundertwasser Hundertwasser was opponent of the

„geometric“ straight line in architecture (the line drawn with a ruler).

But being opponent to straight line concerns also all effects of standardization, uniformity etc.

So being against the straight line is not just for design, it is an attitude to life and society.

994 The Four Antipodes Rugby, New Zealand, 1999 24

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913 KUNSTHAUSWIEN, 1989

DIE REGENBOGENSPIRALE VON VALKENBURG , 2006

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All images: (c) 2020 Namida AG, Glarus, Switzerland

Hundertwasser world: A character who puts colors and dreams around the world.

When to speak about Hundertwasser*s early travels to North Africa, Italy and France, he nourrished his creativity, his ability of perception. Travel and all expĂŠriences were really important to him. Maybe like a laboratory, new ideas, new visions to improuve his art.

He developed his art during his early travels, through the experience of different countries, different culture, different climate, different colours and sun and different people. And at the same he remembered his roots, coming from Vienna and being under the strong influence of the expressionist Egon Schiele.

CATHEDRAL I - Watercolour, Marakesch, 1951

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TALKS WITH THE BEYOND Etching, Vienna 1984

28 All images: (c) 2020 Namida AG, Glarus, Switzerland

TALKS WITH THE BEYOND - Etching, Vienna, 1984

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A very special travel was when he went to Japan in 1961 for the first time and got a strong connection to Japan, appreciating Japanese culture and art. He started to work with Japanese woodcut printers. See with eyes from a Austrian. A many artists also wre influenced by this country like Emile Bernard, Monet or Van Gogh. A western look at the eastern world.

Hundertwasser was curius about everything.

Sharing experiences, and a lot of projects like films. He coopored with film makers twice.

All images: (c) 2020 Namida AG, Glarus, Switzerland

151 BLEEDING HOUSES- Mixed media, Vienna, 1952

„MOP“ MAISHIMA MÜLLVERBRENNUNGSANLAGE, 1997 ,Vienna, 1952

In French we would say that he was a „touche à tout“, he also collaborated by designing for posters, or stamps, he also redesigned the facade of the Rosenthal factory.

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1004 Twins, Watercolour, Venice, 1994, unfinished

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Hundertwasser created his first environment poster for the Conservation Week in New Zealand and he was awarded with the Conservation Award In 1966 with the experimental film maker Ferry Radax for a rather exceptional film portrait which featured Hundertwasser*s ideas about art and living an independent creative life.

In 1972 Hundertwasser made a film with Peter Schamoni, a complete different film showing Hundertwasser with his ship „REgentag“ which he acquired in 1972 as a salt hauler and rebuilt it - his first experience in architecture.

It is a very poetic film showing Hundertwasser mainly in Venice, his domicile of the 1960ies, with the importance of water and the poetic life on the sea.

Another project from Hundertwasser take him New Zealand to live a life in harmony with nature. He bought a farm and planted 100.000 trees there to give territories back to nature. To restitute spontaneous vegetation. He used a humus toilet there and plant purification plant.

Hundertwasser even used solar energy at an early stage. A simple life in nature.

He cared much about identity and tradition.

This is the reason why he designed flags and stamps. They are signs of identity.

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All images: (c) 2020 Namida AG, Glarus, Switzerland

If you‘re in Vienna, I‘m sure you‘ll want to visit the Hundertwasserhaus.

It is worth the visit.

Hundertwasser created environmental posters and dedicated the sales revenues to environmental organisations.

His architectural work again comes from a different source. He criticized rationalism and functionalism of modern architecture, he plead for an architecture in harmony with nature. He started as an „architecture doctor“, but more than 30 architectural projects were realised from the 1980ies onwards.

He lived in Venice, in Giardino Eden. In the house of the gardener, not at the palace…

Why ? Because the important was the garden.

Hundertwasser protected the garden and he gave this garden back to nature, also by planting trees and tolerating spontaneous vegetation.

We can talk also about Rosenthal Factory maybe not so important but it was a first redesign of a facade and planting trees. HW planted trees all over the world, in many environmental campaigns. One of the campaigns was the salvation of the forest of Hainburg in Austria, east of Vienna. He tore his state prize protesting against the policies of the federal government.

Hundertwasser was very interested in book design. He designed many of his exhibition catalogues and created bibliophile books.

Last but not least we can forget to talking about the incinerators in Vienna and Osaka.

Just he could imagine make incinerators like Disney castle tower !

Now they are like a tourists spots. And they are also a tecnology, ecology and art.

We can finalized to say does he buildings with hart, art and looking for a harmony with nature.

Single, special and you must go to see his museum in Vienna.

Hundertwasser died on board of QE 2, on the way FROM New Zealand to Europe.

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Marcos Amaro Where does the love for art begin?

PHOTOS: HUGO CURTI, LANA DE OLIVEIRA AND RAFAEL DABUL

Where to start a conversation with a person „touch the tout“, who has a facility to change industry, change perspectives, go through an airline, go through accessories, mainly glasses maybe to see better ... and change everything again to dedicate to art?

In a more structured way, we can say that his career as artist started while he studied philosophy at Instituto Gens Educação e Cultura. Then he was a member of the board of TAM Linhas Areas. After, he was the represented of the TAG Heuer and Alain Mikli glasses in Brazil, partner of the Carol Optics chain.

And then the conversation begins.

Where does the love for art come from? It was always there, with a stylist mother the influence was present, even in a discreet way.

Colors and shapes lived in the imaginary and in the drawings of the artist, which keep up with him until these days.

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boat yard for special travels 35

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During this journey, a purchase that may also have had a bearing on the choices that guide his path: a painting from the great master Portinari, ”Boy With Sheep”.

Many exhibitions were held, as the one in 2011 with a title that says a lot about the ideas he denotes in his works: “O Que Resta”. Textures, large volumes, colors, an action of time.

About the exhibitions that have already been made, it was asked which the most marked was and the answer was immediate: “In 2016, ‘When Visual Orientation Is Not Enough’ in Miami”.

For the artist, it was an exhibition in which the space was appropriated in a very coherent way, like pieces placed in an attractive way following a script.

Fuselage parts tell a story. They are no longer debris, they’ve become works.

pics

windmill, flying machine, movie set

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You can understand why this exhibition is so important for him. The large volumes and materials used in the imagination of those who look and give that desire to enter the scene together with a work, the notion of the weight of the works to become fragments of the same universe is lost. Without leaving this wide universe, where airplane parts populate here and there, despite finding many other materials in different forms, sometimes scrap, sometimes woven, always with the idea of composing ​​ a story.

In fact, I was not surprised to find out that the artist -who also has a library- acted and acts when possible in the literary area, either in incentive or in publicity. And the book: “A Força do Tridimensinal” condenses and talks about this particular universe of the artist.

The visual impact and the poetry he shows in his works, contrasts a little with the career of an extremely talented entrepreneur who puts all his potential to preserve and foster contemporary art, but not only, he also continues his collection started with a work by Portinari.

As for current projects, such as a mission to transform a factory located in Itu city, in the state of São Paulo, (state where the artist was born), where a textile factory used to exist, in a space that houses a collection from the Marcos Amaro Foundation with a predestined name – FAMA, this space will be opened as a hotel where there will also be rooms to receive artists.

We look forward to seeing the next exhibition project or book or other adventure from the artist and what he will introduce us. After all, he has already shown that he knows how to handle the wings, colors and how he can impress us by every project he presents.

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“A Força do Tridimensinal” condenses and talks about this particular universe of the artist.

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Magritte and DalĂ­ 42

The Magritte Museum decided to celebrate its 10th anniversary last year with an incredible exhibition.

It had more than 100 paintings, sculptures, photographs, drawings, films and archival pieces, talking about numbers, we can mention that in January it reached more than 1,000,000 visitors. The festivity was really great!

les amants 54cm x 73cm, 1928, oil painting, MOMA NY, (borrowed for the museum's birthday exhibition)

Artnatic went to the exposition to check it out and - supported by the museum - to bring you a little of what that exhibition represents in the Belgian capital.

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René Magritte was a famous painter who practically needed no introduction. He is known until nowadays as a surrealist painter and his most famous phrase is CECI N’EST PAS UNE PIPE. He had the ability to transpose to painting the real picture of a certain time of his native country very well: Contrasts, indirect lights, sober colours, but a lot of creativity, a unique way of telling things. He knew how to use all the academic painting technique and place everyday objects as protagonists of a plot (not as a dead nature) like nobody else did.

And on this birthday idea, we think the museum had a party with a friend. A very special guest, Dali.

Thinking about a friendship between a well-behaved restrained Belgian and an eccentric Spanish is something surprising, but they were really close friends. And, of course, there was also a lot of jealousy, projects, conflict, but mutual admiration always prevailed.

Salvador Dalí and René Magritte met in Paris, in the spring of 1929, and they had common friends who were no less talented, all avangardists. During the summer of the same year, Dali invited Magritte to go to Cadaqués, a place that was very important for the Spanish painter. At that point, Eluard, Miro and Buñuel were certainly the basis of fellowship which, later on, became a new artistic movement that emerged from there.

In the cube they placed for visitors to admire the projections with the universes that were confused between the works known to one and the other, the visitor wanted to stay there for a long time. The clouds, the instruments, other objects appeared and

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capsule for time travail / travel memories in imaginary lands

disappeared and the desire was to know if behind any of the clouds they would be still talking there...

They were unique, and while the Catalan declared: “The only difference between a madman and me is that the madman thinks he is not, but I know that I am.” And the Belgian who said: „I long for a living, impossible or ambiguous love. I am afraid to know exactly what my limitations are”.

In the cube they placed for visitors to admire the projections with the universes that were confused between the works known to one and the other, the visitor wanted to stay there for a long time. The clouds, the instruments, other objects appeared and disappeared and the desire was to know if behind any of the clouds they would be still talking there...

They were unique, and while the Catalan declared: “The only difference between a madman and me is that the madman thinks he is not, but I know that I am.” And the Belgian who said: „I long for a living, impossible or ambiguous love. I am afraid to know exactly what my limitations are”.

“The only difference between a madman and me is that the madman thinks he is not, but I know that I am.” And the Belgian who said: „I long for a living, impossible or ambiguous love. I am afraid to know exactly what my limitations are”.

the madonna of portlligat 45

Consuli When a vocation appears

suddenly and so intensely, we must follow it and almost “obey” the brushes

It was after a casual meeting in a book sale in 2005 that I met a painter which accidentally made me meet the painting. I always liked it, but I never tried it. After talking with this man, there was a first attempt: a drawing of a dog. And it was the first in a series of other drawings and paintings.

My family and friends, who saw the paintings, were amazed by the results, since the results were good.

As I had never taken classes, I looked for manuals and magazines to appropriate my techniques for painting. After a brief stint in a painting course, to try a conventional approach, I heard an advice from the teacher that it would be better to look for my own technique. I made many paintings that followed an academic style, later cubist, abstract, figurative... I believe that today I have my own style. I think my paintings are a mixture of cubism and reading.

They give me pleasure and I am very happy when someone tells me that he could feel the same energy that I had felt when I was painting them.

I used to use oil painting for a long time, but after health problems, which prevented me from continuing to use this type of paint, I started painting with acrylic paint.

I used to use oil painting for a long time, but after health problems, which prevented me from continuing to use this type of paint, I started painting with acrylic paint. It was a new learning experience because the drying time is shorter, it was very different, but I ended up adapting and I could continue my paintings.

The most incredible thing about this career as an artist is that “random” has guided practically everything until now. The beginning, the themes of the paintings and then the meeting with my friend and curator Maria Hilda Friedli. She took my works and I was able to show my work in several countries in Europe. All the success I have had, especially in Switzerland, I owe to this meeting.

We already knew each other, when I was a child and she came back, she saw my work and gave me the opportunity to participate in international halls and exhibitions where I couldn’t even be. My paintings are a necessity, it’s like they speak for me the stories that I would like to tell. I hope they continue telling these stories (my stories) and they delight a large number of people. I believe in energy and sharing good energy brings me a lot of joy.

In 2020 my works will be traveling with Maria Hilda - new adventures and stories to tell and I will also participate at Geneva Book Fair , with Valquiria Imperiano, from Cultive Magazine, in October.

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WWW.GALERIEHARMONIA.CH

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MUTATIONS When the architect and designer

Denise da Cruz started creating shapes.

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When the architect and designer Denise da Cruz started creating shapes and objects using the PET bottles and CDs that were going to the trash, she had no idea what it would result.

But when she was invited to participate in the Megaplex exhibition as a representative of Liechtenstein, a new dimension was opened to the activities that she was already engaged in.

that transforms a noble material into a work of ethereal art that never goes unnoticed. Working upcycling is a challenge that is not limited to art works. Nowadays, she also creates transparent masks based on PET bottles so that people can use them safely (they can be washed several times a day) but they still supply a need that we are having, to see our facial expressions, like smiles...

And that was how we had the first exhibition upcycling kunstinstellung, MUTATIONS, in November 2019 at Kulturhause Rossle à Mauren.Of course, it didn‘t end there, the result was better than they imagined and it will become a book.

And the tutorial that was posted on social networks gave us something to talk about, there were a lot of questions, people wanting suggestions, doing tests, which was my attempt ended up becoming an option.

These first works that resemble a work like a „lace maker“ in plastic are light, they also mix organic material like branches and they can be exposed in more than one way. A delicate work

Some people from the hospital checked and adopted it for those who work only at the reception. So you don‘t need to change your mask every 3 hours as recommended. Just wash and go!

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Kulturhaus Rรถssle - Gemeinde Mauren

When the architect and designer Denise da Cruz started creating shapes and objects using the PET bottles and CDs that were going to the trash, she had no idea what it would result.

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In May, with Casa Brasil do Liechtenstein, the ONLINE exhibition will show some pieces, no one doubts that it will be very successful.

We could not fail to mention that apart from activities with Casa Brasil, Artnatic Magazine, she also works as an architect, own projects not only in Switzerland and Liechtenstein but also in Italy, more precisely in Sardinia. Place that she appreciates a lot and is developing a real estate project. With so many activities we can‘t help but ask, but how do you do so many different things? Smiling, she replies: „oh, I am very grateful for everything I have and that is why I multiply trying to do the best and when we generate positive energy, we get it back!“ Nobody doubts that we will still have more news from this carioca who adopted Liechtenstein to be her safe place and where she imagines her projects.

oh, I am very grateful for everything I have and that is why I multiply trying to do the best and when we generate positive energy, we get it back!

More about Denise da Cruz: www.dacruz.li

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Maria Hilda Holistic Therapy

As a holistic therapist colors and artistic expressions, work as a healing instrument. While visiting Brazil in 2013, I saw that, the boy I holded in my arms had become an excellent artist, was a really surprise.

In fact, more than an artist, I found out in Consuli, through his works, the same search for good energies for the therapeutic work.

More than a meeting, it was an evidence. At that time, when I decorated the office with the paintings I had brought, the effecrt was immediate: everyone wanated to know whose they were and they felt really closed to them.

Moreover, it was when I became the curator of Consuli’s works abroad, I had many orders and even today I continue selling them. People who buys his paitings do it, not only because they appreciate them, but also because the energy they can feel throuh them.

According to Consuli, art is a path of healing and through colors he finds peace and balance.

The Dr Bach remedies I have been working with since 2012 are healing elements. I also work with chromotherapy, I can say that a good painting on a white or gray wall is a way to fill the spirit with colorful light. And that brings good energy to the spirit. This was and this still is how the colors of the Consuli’s paintings are important to him, to me and to my clients.

The first exhibition organized was at Restaurante Social Ekir. The success encouraged me to look for more opportunities to publicize his works. Then, we had exhibitions in several countries, such as: Austria, Portugal or in Lichschestein where I sent several Conculi’s works to participate at the Junfest of Vaduz, by Casa Brasil.

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I think the best way to work is establishing bridges and connections, that’s why I collaborate with other curators, such as my friend Angela Oliveira, who has been supporting me a lot in spreading the work of Consuli.

In January last year we had an exhibition at Galerie Serena in La Chaux de Fonds (the city of Switzerland where Le Corbusier was born) which was the biggest hit in the press and among friends.

We had several works sold during the same vernissage. It’s always great to celebrate. It cheers people’s spirit up and ours too. Consuli keeps painting and I keep working, organizing events and exhibitions. It is a job that gives me a lot of pleasure.

Like nature, that doesn’t like “emptiness”, I always try to hang a painting on a white wall. At work as a therapist and curator of Consuli’s work, I seek to reinvigorate emotions.

In the next exhibitions for 2020 we will certainly be in Europe and we have already confirmed our participation online (due to COVID-19) in May, at Casa Brasil in Liechtenstein.

If you got interested in Maria Hilda’s work, please visit the website: galerieharmonia.ch to get more information.

Life—and the twists and turns that come with it—is the gold thread that runs through Marione’s work.

the art of reinventing and realizing, the many lives of Marione Matta The first sculpture she ever created, titled Mutilated, explores the emotions she felt after an operation to remove her uterus: as though there was a hole in the middle of her.

Her piece The Aboriginal was an homage to an Aboriginal person assassinated by the Australian police in the northern territory. “The worst racism I saw in my life was in Australia,” Marione says. “In the US, I experienced racism; you could see easily that white and black people hated each other. But in Australia, white and Aboriginal people ignore each other—which might be even worse.”

Each of Marione’s works is connected to a distinct experience from her life, which took her across the globe in her search for pleasure, fulfillment, and beauty.

Marione Matta’s origins were very humble, but through love and education the whole world opened up to her.

As her foster mother often says, Marione was not a “foster child“(filha de criação), but a child of the heart, (filha de coração).

At eighteen, as an exchange student in the US for a school year she found a new family with whom she remains in contact. The experience taught her a pivotal lesson that she could explore all the possibilities that the world had to offer her.

Upon returning to Brazil she acquired her first medical degree and completed two years of residency. She was then invited by the university hospital of Zurich for a year’s fellowship. In Switzerland she completed another medical degree, and after her schooling she began work with the Swiss Air rescue service, Rega, as an international flying doctor.

When Swiss citizens got into accidents abroad— heart attacks in Africa, broken legs in the US, surfing accidents in Australia—they were transported on commercial flights or small jets of the company with a captain, a co-pilot, a nurse, and Marione, who cared for them all the way home. It was a flying intensive care unit.

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One adventure led to the next, and on one of these trips Matta met an Australian flight attendant who would become her second husband. She moved to Australia, married, and faced a new pivot in her career: Without an Australian medical degree, Marione could not practice medicine. Instead, she joined Sulzer, a Swiss engineering company that had a medical arm in Australia to distribute cardiovascular and orthopedic devices. She became the general manager of the cardiovascular department.

While in Australia, Marione began to experience symptoms in her abdomen. She knew something was wrong, that her cells might be changing under the surface, but she also wanted to get pregnant.

She held onto hope until she finally had to face a painful diagnosis. Marione had uterine cancer, and she was afraid she would die without a hysterectomy.

Meanwhile, her second marriage was ending, and as she faced her illness, she thought: What have I not done with this life that I have always wanted to do? The answer came quickly. Marione wanted to be an artist.

She traveled next to the US, where she studied fine art, graphic design, and digital arts in the early days of computers. Her graduation in 2000 from the Academy of Art University in San Francisco was a beautiful one; but when she walked the stage, she looked out to an audience of strangers. Her family of origin had not supported her path away from medicine.

Marione went on vacation to Switzerland just after finishing her art degree, and when she returned home to the US, there were seventeen letters— job offers—stuffed under her door. In her digital art program, she’d studied Flash design, which

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was in high demand in the early ages of website development.

From the offers, she accepted the one from Arthur Andersen, and though she wanted to stay in the US to develop her art, the firm sent her to Hong Kong to learn more about website creation and then apply her knowledge at the brunch firm in Zurich.

Formerly one of the “Big Five” accounting firms, Arthur Andersen had become one of the world’s largest multinational companies, but then they knew little about Web design.

It was 2000 and Hong Kong was in the early stages of returning to be a Chinese territory. It was a melting pot of people from all over the world. Happy hours and dinners were a routine, not to mention the short trips to Macau on the weekends. Marione met people who remained friends to date and deepen her knowledge about colors, alignment, repetition and contrast applied to websites.

When she returned, Marione saw that the “left hand” of Arthur Andersen wasn’t watching what the “right hand” was doing, and she resigned. Not long after, the company collapsed.

Her travels took her across the world yet again, as she pursued a desire to get a medical degree in Australia. But midway through her final exams, Matta learned that her birth mother in Brazil with whom she had a loving relationship was very sick.

The two of them had always shared a dream of living together, so Marione dropped everything to move to Brazil, buy a house, and live with her mother.

Two months later her mother died. Matta remained in Brazil, however, and her observations of social disparity went on to inform her artistic work.

In Brazil, Marione worked for three hospitals simultaneously—and she was even fired from one

for giving thorough examinations to her emergency patients (the administrators told her she should not take the time to examine them but should only dole out medicine).

Marione’s drive to help others drew her to work in a very poor area of Brazil next to one of the richest areas populated by the bourgeoisie. In Búzios, she found herself at the crossroads of rich and poor: Her friends didn’t travel in that part of the city because they feared they would be robbed. Marione, however, could safely walk the streets because people knew her, and knew she was fighting for them.

Another pivot came in 2011 when Matta decided to move back to Switzerland and specialize in aesthetic medicine. Today, her professional work spans two poles: She has a private practice in aesthetic medicine, and she makes emergency home visits. Marione enjoys the mix; one is critical and necessary, while the other is unnecessary and revolves around beauty—and even contains elements of sculpture.

Marione experienced a more than ten-year hiatus in her artmaking. For the last two years, she has felt a need to do something with her hands again, and it has resulted in a resurgence in her drawing, painting, and other methods of creating beauty.

Through its twists and turns, Matta’s story paints a clear picture: if you persevere and follow your purpose in life, you will get what you want out of it. It is one of the most difficult things, she says, to know what you want to do with your life—but once you find it, you must pursue it. Marione followed it across every continent, and found that when she pursued what she wanted, it wasn’t only money that came from her efforts — she also found pleasure and beauty.

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ZURCAROH Electrifying volume sets

PHOTOS: MARTIN HÄMMERLE AND OLIVER LERCH

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How not to add dance in Artnatic magazine?

The choice was directed to a group that delighted us. Firstly, because the group’s history is almost a novel and the performances that they are able to represent impressed us and certainly many others.

Peterson da Cruz Hora is from Santos. In 1996 he started his choreographies at Guaruja and continued his performances as an athlete at the city hall.

When I asked what the name “Zurcaroh” means, I hadn‘t even paid attention that it was the choreographer‘s surname backwards. In 2007 he had the opportunity to perform in Austria. The career launched and in 2009 he settled there definitively.

They have already performed in several prestigious places such as in front of the Pyramids of Giza or for the British royal family, prince William and duchess Kate.

Or other important events in Monaco and Las Vegas. As the group consists of 80 people, we asked how many different nationalities participate at the same time. They are 8: Brazilians, Russians, Germans, Austrians, Swiss, Finns, Americans and Italians. We were curious to know whether the choreographies were all from the group or they had external choreographers. We got even more impressed when we learned that all the choreographies have the same authorship: Peterson da Cruz Hora, our guest. We also asked about the values of the Zurcaroh group, and Peterson explained that many presentations are made for social projects. The dancers are professional dancers In the next projects, they will still present for corporations, make openings of galas of companies, resorts... sometimes with the complete group, sometimes with smaller groups, it can vary from 20 to 80 members.

And at the conclusion of this interview an inevitable question: and for the future? The dream is the limit.

After all, for those who left a small city and won the world, how can we see limits, right? The Zurcaroh Group will still surprise us with acrobatics, dances and images that make us dream about them for a long time.

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In the next projects, they will still present for corporations, make openings of galas of companies, resorts... sometimes with the complete group, sometimes with smaller groups, it can vary from 20 to 80 members.

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Lucilene Lisboa Rehberg Photographer It was by chance that I met this girl in Dusseldorf, last year. We met again in Liechtenstein and then, one more time in Porto, in a exhibition where she showed us an amazing work. Those generous hands, those colors, that fruit, the light, lines and curves could tell how much her talent excels. I think about her smile and her look, somehow they always stand out in the photos.

Urucum was our first meeting. This year we had an opportunity to do an interview. But I thought to myself and decided to challenge us a little bit: We won’t do any interview. I suggest her to send me a picture which should outline what cultural baggage she carries along with her. A picture that shows all symbolic and important moments in her life.

I got really curious about what I was suppossed to receive. She took a time to send me it, which increased my curiosity. I received the photo. I had had the feeling that I would like it, but it was still better than I thought. I will try to describe here what I saw and what I would like to share with you.

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In the pink sky, how much strenght, how delicate, it’s impossible to not stare at it.

Suddenly, I saw with my eyes, in front of me, what she had told me. From the sertão, where she came to the world and then, soon, flew to São Paulo, a Brazilian megalometropole that houses so many superlatives and by coincidence – shall we believe it’s just coincidence or destiny?

In São Paulo there are the largest Japanese community outside Japan and also the largest number of German companies.

We could say it was made by fate, irony or to consolidate her own history. It was in Japan that their children were born, more precisely in Tokyo. And... is her husband Japanese? No, he is a German!

Two people arrived in Japan, four left from there: a family. They lived for a total of 10 years in Asia, Tokyo, but also in Hong Kong. Then back to west, within the spirit of curiosity to live with cultural diversity, openness to others, they chose the Heidelberg city to stay.

And talking about the photo, where was it taken? It was taken in the city where she lives, it could have been done in São Paulo, Tokyo, or even in the Oden / Heidelberg forest. It depicts a door, a „gate“.

Because this is Lucilene Lisboa Rehberg’s history.

She was always Brazil inward, like a talisman. She creates and transforms forms by building a new imaginary. This reinterpretation that is impressive and that makes us feel the images.

In the pink sky, the clouds, the Japanese portico that appears weightless, almost like a line, everything is light.

I was thinking again about the conversation I had with her in Porto, when she talked about the sertao, where her father‘s family comes from. Whence that land that, at the same time, seems battered and arid is a land of fruit, of legends, of unique colors. She also talked about the time she lived in Japan, about her children, about such a different culture, about reviving herself in that east.

There, in that photo, looking warm, cool, stirring.

As if the sky could change its color in a little while and still there in the photo, for us to see. Magic!

Maybe that‘s the strength I find most in her photos.

Movement, magic, light, but at the same time with strong themes.

I decided in my own way to mix the symbols, I tried

to join the ideas I saw in it. And I thought about birds. About the many birds that migrate . She also migrated and made it her strength. The immigrant spirit, which allowed her to adapt and create.

In the sertão, the Carcara: strong, when it flies, it is light, beautiful, owner of the sky. In Japan, the divine Tsurus: means happiness, longevity and a desire for peace. I almost forgot to ask her the name of the work, she smiled and replied that its name was Toori. „Toori under the Nippo-German-Brazilian triad: the plasticity of globalization“ And she complemented the explanation of that choice: Toori, means “gate” in simple translation.

But for her, who studied Japanese, it also means an address for the birds. A transition between the world as we live and the other, sacred, magical. I imagine that in the next work that she will present us, we will have this movement oscillating between the inside and the outside world. I‘m already curious to know what theme she will use next. And we will also be able to find out about the doctoral thesis that she will present. Talented girl with ability in the letters, in the lenses and in the stories she tells us.

She lives in an eternal search for new paths, doors and ways to show us her unique universe.

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Chat with Lúcia Amélia Aeberhardt A great pleasure to have this small talk with Lúcia who, besides being an artist and therapist, is an incredible person who we want to talk for hours. But let’s go to our new place, which she will inaugurate here in 7 points.

PHOTOS: JHEICE CORREIA ROLF AEBERHARDT

1 - What does art represent to you?

LAA: Art for me represents the air I breathe, the blood that runs through my veins, art for me is life, joy, communication. The way I chose to communicate with my audience and express my feelings, ideas and achievements.

I like to express myself through different forms of art, exactly for this reason I decided to use literature, music, techniques learned in the theater and body expression as an instrument of communication and social interaction because my life is a show stage. I am the art.

2 - In your work, do you work with people of other nationalities?

LAA: I am Bienoise, here we have 58 thousand inhabitants and 158 nations (it fascinates me, because I like human being).

Trilingualism is a constant. I am graduated in multiculturalism and intercultural mediator and I speak five languages, this facilitates my work with other nationalities.

3 - When you work with artistic expressions, do you feel your Brazilian side or do you think there is a mix?

LAA: Due to my multicultural work and trips to five continents, I am influenced by different ethnicities.

For example: Inspired by the tribes of Africa, the rhythms of Iran and India, I created a choreography which I named “Mandala Mutante Pura Arte”, it is a spiritualist soil full of energy.

4- When did your adventure with art begin?

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LAA: I like to joke and say that my contact with the world to give arts started from my mother’s womb since I am a daughter of a writer and composer. My maternal great-grandfather played banjo and cavaquinho, he founded at the time the first and only Jazz band in the city. My grandfather was a trumpeter, each one of my uncles played an instrument...

5- What are the next events?

LAA: I am currently participating in a project called ”Come Together Songs” led by Jacqueline Zimmermann. The project involves people from eight countries and the presentations are scheduled for March 24th, April 28th, May 26th, June 23rd at Haus pour Bienne. In 26th, 27th and 28th of March I will be singing at two wedding in Germany. In June 13th I will be at Circo Filacro in Uster on the occasion of the 20th anniversary of Madalena’s.

My degree in Theology also allows me to organize funeral ceremonies and celebrate marriage.

6 - Do you have any tips for a girl or boy who wants to follow this path?

LAA: I’ll quote Bertold Brecht here: “All arts contribute to the greatest of all arts: the art of living” (Completing by Lúcia Amélia Aeberhardt) So sing, dance, smile and live your joy every day. And, of course, without forgetting the values that ​​ we must cultivate, such as self-love, honesty, fidelity, responsibility, humility,

solidarity, tolerating differences, perseverance, respect and longsuffering.

7 - Do you believe in the transmission of these values?

LAA: Absolutely! I not only believe in them but also practice and I transmit. I conclude by citing Pythagoras: “Educate the children and it won’t be necessary to punish the men.”

Luiza Helena Trajano President of the Board of Directors of Magazine Luiza and Mulheres do Brasil Group As a businesswoman, Luiza Helena Trajano has transformed a chain of stores into a strong group that can enter the highly disputed arena of the distribution world. For those who do not know, it is the group that brings together the companies Viavarejo, Lojas Americanas and GPA, in Brazil. A huge group that generates millions of euros.

3 - What are the characteristics of your company?

and demanded by customers, including arts customers.

Our job is to focus on people and we try to act with innovation and creativity. Currently, we are defining ourselves as a digital company, with sales points and human warmth.

6 - What is your vision about your business in the next 5 years?

7 - What is the most important moment of your career?

And since in everything she touches, it turns into gold, she made MAGAZINE LUIZA grow, which was founded by her aunt Luiza Trajano Donato, in 1957.

I cannot highlight a moment, because there were uncountable ones. Thus, the most important thing is that I feel unfinished and I learn in every moment, in all the contacts I make.

But she was not content to just create “for her”, she decided to roll up her sleeves and fight together with the Brazilian women. She created this group with other women and today, all around the world, there are spread centers where women inspire, help and exchange good practices.

8 - What will be your next project?

We are working actively in 2020 with Mulheres do Brasil Group since we want to become the largest non-partisan group in the country. It will be a year in which we will have an outstanding performance and committed to society.

Success is great and it’s been growing.

Hence our interest in interviewing this visionary person who doesn’t measure effort to see another nucleus sprout up everywhere, another Women from Brazil’’ and more quality of entrepreneurship for all. A female entrepreneurship to envy many businessmen out there.

Between a trip and a meeting, we managed to talk to her for a while.

1 -Who is Luiza Helena Trajano?

How would you describe yourself?

It is hard to describe myself. I am an ordinary person, who works, who is always on the move and who believes in Brazil.

All retail will pass through profound changes. The great job will be to anticipate trends and work hard, especially in Brazil, in the digital era.

4 - Is the term ”sustainable” just a fashion word or a necessity?

Perhaps, it’s a contemporary political philosophy. What’s your opinion?

It is a total necessity. Companies that fail to meet their customers’ wishes in a sustainable and diverse manner tend to lose market and be overtaken by those that are preparing properly and creating values for their consumers.

2 - As a businessperson and woman, what are the rewarding battles?

5- In art, sustainability has also influenced artists. How do you see this trend?

All battles that have a definite cause for the benefit of society and the ones that transform the reality for the better.

It is irreversible. As I mentioned, sustainability and diversity will be increasingly demanded

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Sheila Roza Starting the day knowing that anything can happen.

PHOTOS: ADVISORY SHEILA ROZA

Routine without routine, by SRCOM founder Sheila Roza.

An informal conversation where the most noticeable is the passion for what you do.

whether that event brought or may have repercussions on sales or contracts to justify the investment.

When asked about the fact of being a woman in an environment where most of the founders, directors, those who decide are men, does that get in the way?

Immediate answer: No way!

Women have a match, know how to put themselves, explain and do a formidable job. At the company we currently have a team that is divided into creation and planning, which is made up of 95% men and in the case of production it is 95% women. A balance, and a job that is constantly helping and convincing. Streamline a campaign, find a way to make the best of those differences.

What about your career: has it changed a lot? Is the work that was done before very different from now?

In fact the reason is the same: to put a product or a brand. But, if before we could be content and show the brand logo at an event, now it is a must. Not only to show the product or brand, but also to quantify

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an important name on the national scene with incredible projects, she decided to challenge herself and launch herself into a „solo“ career, in search of more personal achievements.

SRCOM is not an agency, it is not a producer, it exists to create a „brand experience“. This „brand experience“ is a special job, being able to put a brand in the public‘s spirit. Not just at a sales point, or on the websites, but occupy the scene as a whole. A global, differentiated experience.

She remembers an incredible project she worked on at Globo, in a project called Aquarius. Classical music in open air places with a huge audience. The important thing was to show the GLOBO logo. Now that would only happen, if it were an advertisement that increased the number of subscribers or advertisers or something like that.

But, that only adds to the challenge.

After working for more than 20 years with a huge structure and

For example, currently the brand „Coke“ has a new target that seeks the generation of 16 to 21 years old. This is a job that is changing and adjusting. There is no way to sit down and apply a recipe.

Everything goes much faster.

When we remember that before we had the fax as an advance and now it became a museum piece, it forces us to always look for other ways to impress. It was not for nothing that the phrase that was chosen to define SRCOM is: ”Ideas That Mark”.

Now, in these more than 30 years, they are registered in fantastic projects such as the Globosat Connection, Coke Fan Fest Show,

Olympic Games and Paralympic Games.

And when we talk about the Olympic Games and its international dimension, the number of people who saw and vibrated with the experience, gives the measure of the talent that left so much emotion in everyone who participated or watched.

In the Paralympic games, the only shadow that remained was to know that it ended up being the last job of her son who organized everything so well and fulfilled the promise of the career that he started so young.

She remembers the time of her child participating in the backstage of those accomplishments. And even if he studied and graduated with a diploma that would give him the opportunity to do other things, it was useless, he wanted to work as it was written. The loss is huge, the pain too, but after so much effort by her son that was the pride and joy of what he provided, she could only return to continue the work he wanted to do.

A few days before the event, she had an idea: to send a letter in every house between Flamengo and Urca asking for, at the time of the event, they turn on the lights to create a pearl necklace that would

that letter, what a power, right?

I asked what the new projects ahead were, and heard the comment, that those who work in this area do it with a lot of love and with the desire to create emotions not only for themselves but for others, as well.

She has heard it is like getting adrenaline. There‘s no time for anything. It is not a job with a time to start or end. You live it and assume you like it.

And there is still a lot to come.

be seen by whoever was at the concert venue. During the time of the event, she was busy. But suddenly,s he looked to the side and saw that practically all the residents turned on their lights.

The effect was beautiful!

And do it without any internet, with a simple letter ...

Even we are here wanting to read

For now, there will be New Year‘s Eve in Copacabana, they are already in the 13th year. It is always magical. Every new year is a new year, definitely.

And when we ask how many people there will be, she replies without false modesty: 2,000,000 people in general.

What to say after that?

Sheila Roza still has a lot to thrill us and make us vibrate.

And then, we see the mastery that continues with the new projects.

I couldn‘t resist asking which project she most liked to have done. And then, after a few seconds, came a project that she did for Mesbla stores.

It was a project at Flamengo‘s embankment, including a mini Eiffel Tower, to celebrate the 200 years of the French revolution.

With dance, Dalal Achcar Ballet, Symphony Orchestra conducted by conductor Isaac Karabtchevsky, Ravel‘s Bolero.

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Bruno Fernandes Plastic Artist Bruno Fernandes, a native of Timoteo, Minas Gerais Brazil, had a normal schooling in a small town without enough resources. His dream was to become a painter. After many sacrifices to fulfill his dream, he came to study painting at the School of Fine Arts in Brussels and since then he regularly exhibits in the city. His works have already been exhibited in Brazil, Luxembourg, and Germany; He was also at Index Dubai and Paris last year. His work is colorful, imaginative and, as he defines it himself: an abstract impressionism.

He dreams of making an exhibition on his land, but for now it’s still a dream. He dedicates himself to his work at the studio in Brussels which he confesses being too small to house his new works that have XXL dimensions and he already wonders where they would look beautiful... he suggests a company hall or even a museum. “Ah, this is my bigger dream. Who knows, right?” A wide smile and the sympathy that characterizes the contagious painter, it is not for nothing that he has so many friends who come to visit him in his studio and also at his exhibitions. In 2020 he will go to London, Vaduz, Amsterdam and Brussels.

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He dedicates himself to his work at the studio in Brussels which he confesses being too small to house his new works that have XXL dimensions and he already wonders where they would look beautiful...

Celebration of Emotions Karina M. Kimmig Karina M. Kimmig was awarded Top Coach in Germany, author of the book “Humanistic Methodology: The Seven Powers We All Possess”, General Manager MORE Institute GmbH, President of international associations, co-creator of MORE Humanistic Methodology, author, blogger and international reference on human development. In addition: more-institute.com

ruled, we would rebel against it. Great crises, great artists. Conflict generates creativity, chaos generates life. Our emotional contradictions, inner conflicts, mental anarchy, create within us opportunities to recreate, to think differently and independently. However, if there is no stability after chaos, we drown.

Emotions need a captain – you. They unconsciously and consciously define your decisions, drive your behaviours, spearhead your thoughts, limit your present due to the past, determine your future. They cause you to lose everything at a gaming table or win everything by successfully managing a business. They raise your self-esteem or tear you down with self-criticism. They cause you to maintain a loving relationship or lead you to the insatiable island of lost passion. Working with the human being, with all of his/her emotional colours and shades, have found that when you accept all of the parts of yourself, the perfect and the defective, without self-judgement, but with extreme self-respect, integrating emotions that were held back by occurrences fragmented by life, you gain in all areas of life.

When each of us integrates the variety, the difference, the multiplicity we all have within us, we achieve, automatically, integration of the diversity of the external reality, be it religious, racial, cultural, sexual and gender, persons with disability, or other. Because emotion, like art, speaks every language.

I was thinking. If life were a colour, what would it be?

Perhaps it would be difficult to define it as merely one colour. Life, as the principle of existence of a being in a certain time, driven by an Atman (breath of life), is a multiplicity of emotional events, an explosion of colours. Perhaps fiery red could signal moments of passion; orange experiences of ecstasy, although V. Van Gogh would disagree, attributing it as the colour of insanity; green would be for the phases of hope, which Mário Quintana referred to so well when he said that hope is a vulture painted green; blue traces the constancy of the moments of tranquillity; white, the rhythm of the intermittent periods; and one day violet will inundate the end point of life. For a painter to think of life without colour would be impossible. For a human being to think of life without emotions would be impossible. To paraphrase Paul Klee, Colour and I are one. I am a painter, I would say, Emotion and I are one. I am Human.

We are made up of doubt, melancholy, joy, uncertainty, anger, love, fear, sadness, pain. We are a dynamic diversity, a celebration of virtues, faults, talents, temperaments. A complexity of various facets that is summed up in personality, one single world.

Together, emotions can coexist, mutually accepting each other, but when some of them exclude their opposites, interminable inner conflicts occur. Marc Chagall noted that all colours are friends of their neighbours and lovers of their opposites. The same thing happens with emotions. If happiness were a constant, we would be unhappy and sterile. If calm

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Clap, on the scene with Samira Vera Cruz filmmaker According to the filmmaker herself, she fell into the world of cinema. Actually, she wanted to study theater, but his brother, who was always self-taught in the audiovisual and animation field, convinced her to try some cinema classes when she enrolled at college. In the first class, they put a camera in her hand and sent her out to film. The rest is history! She never left the cinema, even though it is a difficult profession. She worked in Angola, as well as in her country and found that the reality of audiovisual did not allow her to work

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only in cinema. At the time, she dedicated herself to journalism and then to advertising. However, after a few years, she started to feel frustrated because she wasn’t really dedicating herself to her passion - to which she had dedicated four years of intensive studies. It was then that she created the first short film, with the help of family and friends, she created Buska Santu (CAPEVERDEAN INT FILM FESTIVAL Festival 2016) and Kugoma Mozambique. After that she decided that, despite all the difficulties, she really had to dedicate herself entirely to cinema.

We know that soon we will be receiving Samira's new films!

ACTION!!!

She considers that having won the PALOP-TL Short Film Competition 25 years in 2017 -which allowed her to make her short documentary Hora di Bai, representing Cape Verde- was the turning point at which she was sure she should continue. That was the first prize, which allowed her to travel a lot, present her work in different countries and see how people react to their films. There were other awards and recognitions after that, but she really thinks that was the main turning point.

Audiovisual and cinema in particular are very masculine areas. There is no denying that and, especially in countries like mine where the industry is not established, it is mostly a male business. However, worldwide, this trend is changing, she has already gone through several situations of declared chauvinism (and here it is worth saying that she got it not only from men but also women) but with the passage of time and with the continuation of her work, these situations become increasingly rare. She says: “I think the important thing is to stay true to yourself and let the work speak for itself. Being a woman still makes things more difficult because we often have twice as much work to get half the recognition but don’t think it should be an impediment. It is possible to easily get around difficulties when focused on your own goals - there is no reason to be different in cinema!”

When we ask about an African vision, she explains that she finds it very complicated to speak of an “African vision”, as well as to speak of a “European vision” or “Asian”. The African continent is immense and from the moment we notice that within the 10 islands of Cape Verde they are very different and that even from Cape Verde to Senegal, which is right next door, there is a world of differences ...

“African identity”. She thinks it’s the same diversity that makes us so rich. Yes, she identifies herself as a Cape Verdean director, as an African director... but it is difficult to understand how this can define a vision coming from such a vast and culturally rich continent.

The fact that she was born and raised there makes her sensitive to certain themes and certain visual and auditory stimuli. It does not prevent another person from other places to have that same sensitivity.

She believes that it has much more to do with what motivates and moves us than with being born in a certain place - which in no way depends on us. She feels in love with her country, Cape Verde is very inspired by her; as well as other places she went through. To this day, he has privileged to share the way he sees his Creole identity with his people and with the world. It is a view that can be defined as multiethnic, as African, as mixed race... it depends on the point of view!

At the moment, she is a local producer of the movie “Citation” by Kunle Afolayan, from Nigeria, which will have some sequences filmed in the city of Praia and talks about the issue of harassment in universities.

She is also collaborating with some reports for a South African producer, in addition, she is one of the focal points of the PALOPTL Cinema Network. This project, through which she was already part of the mapping of professionals, institutions and companies in African Portuguese Speaking Countries and East Timor, will have all the information available on a website later this year. The priority intention is to promote the distribution of the work that is done in our countries. She also collaborated with CENA, a women’s film exhibition in Cape Verde, which took place in March. The exhibition was intended not only to show films made by women / with themes that address the feminine, but also to promote dialogue and reflection on the subject. Following CENA, she intends to launch the Collective of Women in Audiovisual in Cape Verde and the Diaspora - which will allow the mapping of women and their works from that identity space and will promote productions through partnerships. It will also make it possible to identify the needs and promote training that can affirm the Cape Verdean woman in the world.

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In the magic of the letters! translator

Casmurro, by Machado de Assis, and thus her passion began. After this one, she never stopped: has read Graciliano Ramos, Mario Quintana, Paulo Coelho, Carlos Drummond de Andrade ... reading is her partner in life.

Her work, in general, we may say is very solitary.

But through her work she also met translators from different nationalities and these exchanges and meetings are always enriching.

Working in other languages, how would the influence of her Brazilian side be, she tells us that her personal baggage is also manifested. And above all her “carioca” roots (originally from Rio de Janeiro). As a matter of fact, these influences are really nourished because there is always music around, she confesses that she sings, interprets (laughs), letting us wanting to test this other talent, but let’s leave it to another moment...

Of course, another influence also comes from living outside Brazil for a few years. After all, customs are always acquired from friends she makes, from the country, and even from the trips she usually takes.

She started the adventure in translating even before she had finished her Language course in 2011.

During this period, many friends from other courses asked her to translate some academic files or books, since most of them were written in English. From that moment on, more than a profession or opportunity, she discovered that it was an activity she liked and that made her happy, in a way, because she could help others.

Ariane Nascimento There are people who know how to do tricks. Others, know how to use or imagine transformation, even if just for brief moments, they mark.

The work of a translator, or a teacher, or a proofreader and related, is to transform letters into messages, impactful phrases that can amuse, inform, move or make someone willing for more.

It is not easy to be able to transmit, correct and save a soul of a text.

Like magicians, it’s necessary to know how to keep secrets in order to adapt without breaking or enchanting the ideas the author wanted to transmit.

At the moment, the Master in Anglo-American Studies at the Faculty of Arts and Humanities of Porto is a new stage necessary to continue seeking excellence.

Broaden the horizon even more and open new doors for her professional career and personal growth.

A message she leaves: “Translation is not an easy business to follow if you think about becoming rich as a translator forget it! Competition is huge and the work area is small. But, like me, it is in this area that you feel professionally fulfilled, study, invest in yourself, start doing small translations for friends, get into the world of translation and believe in yourself.

Everything contributes to those who believe! ”

In Ariane’s work it became clear that words are of great importance. It is through letters, words, that we can show our feelings and thoughts, mainly, what is not possible to say. It was and it still is an important tool for human and artistic development.

To conclude, an important value for her, and she answers without excitation: “Honesty. Both for the day to day, with our family and friends, and for our professional area, with our co-workers or clients.

We need to be honest, transparent, with ourselves and with those around us. As Thomas Jefferson once said, ‘Honesty is the first chapter of the book of wisdom’ “

As a child, she was surrounded by books. Her father has always been a reader, fond of Brazilian literature and her mother was a teacher, so early on she had contact with great Brazilian works.

The first book she read, out of curiosity, was Dom

And for us here, at Artnatic, it was clear that another word fits well for the work she does: MAGIC! She wants people to be able to see in me what I want to convey. And we can say that she succeeds, as it has been said before, she is magical!

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1989 MEGAPLEX November 14 - 16, 2019

An incredible experience: 16 countries, 22 cities, all holding their own exhibitions at the same time under the same theme! From A to Z: 1989 Megaplex Worldwide Exhibition Aarhus in Denmark to Zurich in Switzerland, passing also in Miami, Mendoza, Brasília!

Project by curator Angela Cardoso

The first MEGAPLEX took place on the 14th of November.

FAM&EVENTS Asbl, a Belgian Corporation, is proud to invite Artists, Galleries, Organizations, Institutions and Universities to participate in our new project, the An incredible experience: 16 countries, 22 spread through art the reflection on humanity “1989 and the changes that happened after the events cities, all MEGAPLEX holding their WORLDWIDE own exhibitionsEXHIBITION”. at the same time under the same theme! From A to Z: Aarhus in Denmark to Zurich in Switzerland, passing also in Miami, Mendoza, Brasília…

after 1989.

After all, it was 30 years since that moment when the world changed. And to imagine how the 1. Objective artists lived and translated all these influences The idea was to hold all the vernissages on the was a unique opportunity. It was both an 14th of November, but each city could make its individual and collective experience, but above event as they wanted, the solo exhibition Fam&Events, Asbl from (hereby called “Organizer”) has the objective of encouraging and all an adventure that left its mark. in Paris to the meeting with debate in London, the visual arts and reflection about humanity life changing events ordiffusing even films like Berlin and promote Athenas. aThe A video with the collective images is available only requirements were that everyone should worldwide in our past 30 years that hadonits in the yearas1989 the the origin MEGAPLEX website well asand the videos start on the same day and send images, so of each city that participated. consequences of said thatwhat influenced and shaped our present. This exhibition is that everyone could see events and know was invite everyone to view this adventure and happening in each city.events in the artists eyes. We an exposé of said Every medium is welcome and the theme we can already announce that soon we will have It pertaining was not easy, coordinate, a new MEGAPLEX, probably with more cities, to thetoyear 1989 is to of encourage, the artists’ choice. unfortunately some cities had to leave the project new partnerships and full of desire to always do (at the beginning we were 26) since they could more and better. After all, Art is what it is about, not be ready… But the adventure was worth it is what it translates, it is what distinguishes it! The main objective was to encourage and us but at the same time brings us closer!!

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I was talking to a friend about how to decorate the new office when she said: “That’s your interpretation.”

At that moment, I was a little unsure of what to answer, but I began to consider it. It was Clara who asked me to choose the best shade of yellow for the curtains.

Now! From my point of view, the yellow color doesn’t vary much. It comes in a maximum of three shades. Light yellow, dark yellow, and if you are very reasonable, maybe a medium yellow.

Colors and shades I was talking to a friend about how to decorate the new office when she said: “That’s your interpretation.”

Other, like me, are not gifted with these women’s superpowers to enjoy so many shades in one single color, but the use of the word “interpretation” in my colleague’s sentence has ruined my peace.

Interpretation Such a clever word, isn’t? Imagine that many people see two single colors, but they cannot feel the tonalities between them. Is it just mind limitation or lack of judgment?

Think of the color red and the varieties that come out of it once you mix it with blue. It’s amazing to see how much it varies in shades of purple, lilac, violet, fuchsia (this last one I had to research to write here) and so many others I didn’t even know they existed.

Am I a person who does not have the power of interpretation? I am always worried about the meaning of things in this world. Then, I took the word in Clara’s sentence seriously and went deeper.

In some dictionaries, to interpret means to determine with certainty the meaning of something. Explain, or take in a certain sense. And my head got even more confused, because if we interpret to be certain, or to have “certain” meaning, how can we have different interpretations of the same thing?

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Then I began to understand. Indeed my thoughts got clear shades. When I make an interpretation, I see the “precise” meaning that suits me. It is the interpretation that associates my knowledge of what I am analyzing with my feelings and personal experiences. When you build an interpretation, you see the “accurate” meaning of what suits you. It is an interpretation that associates your knowledge of what you are analyzing together with your feelings and personal experiences.

Please do not confuse “give your opinion,” with “give your interpretation”.

When analyzing a work of art, the same happens and where one person sees only a calm sea with white boats in the background, others capture the wistfulness of the artist.

Interpreting is a divine gift that only people with a high level of enlightenment should perform.

Interpretation is so controversial that once a literary critic, owner of a famous publisher house came to me with his nose up, saying he had loved the way how I have written in one of my books, about the city of Rio de Janeiro. He said: “Magnificent the sentimental work you did in quoting the city of Rio and its suburban in grey colors. How much nostalgia I have found in your words. ” I accepted the compliment, but when I wrote that the streets of São Cristóvão in Rio de Janeiro were grey, I meant that. Nothing that was black, brown or green. I wrote grey because it was the color I saw in the dust that bordered the streets, the thresholds of houses, the roofs, and the marquees of commerce.

That simple.

However, thanks to his interpretation, my writing gained an extra point. Interpretation can create different points of view if what we say, write or produce has not a clear content. If the object under the human eye is not mathematically perfect, its interpretation may be variable and we fall back at the beginning of this analysis of interpretation.

If to interpret is to be sure, by creating different opinions, it loses the aim of the word. And what shall I say of the act of interpreting? In the theatre the actors interpret, they try to represent by their way, what they want to convey to the public.

Interpreting is a divine gift that only people with a high level of enlightenment should perform. By interpreting something without proper preparation, without study, we open the door to ignorance and make an emotional and personal tenor. Loaded with frustrations and longings in the outcome of our analysis. This misrepresents an interpretation but continues considered valid if treated as a point of view. It’s just your interpretation, and by that, it absolves you of any fault, right?

Wrong Interpretation should be the antithesis of what we do.

It should be the search for the certainty of meaning, but how to do that in an increasingly shallow world?

Where most people only talk about what they don’t

Sandro Vita know. They only know what they don’t study, and they rarely afford to hear. They never bother to read to them. We all just want to interpret and express ourselves without pondering, without debating, without considering it. Sad. Interpretation. Basically, it is a kind of unconscious judgment we do about everything around us, about everyone we know. And especially about who we don’t know and what we fear. Many times our interpretation makes us walk backward, makes us pass a white wall that could be ice (and here I am referring to the white shade named ice). How many times have we? How many times have you interpreted what someone said, wrote, or produced without knowing the subject, without knowing the person or what is behind it?

To interpret is, today, synonymous to judgment.

An almost unholy way that many uses as a crutch to expose their futile and unwelcome opinions.

That’s right, unwelcome, or do you think it is fair to Monet and Van Gogh when someone “interprets,” comparing their genius with the drawings of their first-year school child?

Interpreting is something that should only for God and the angels. Who knows, but maybe if it was like that our free will would be less open to an interpretation, perhaps a kind of judgment.

Perhaps, we would realize that before interpreting something, we must first understand it fully.

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Philippe Starck PHOTO: ©STARCK BIOTECH PARIS

He‘s French, but do we still need to say that? The tricolor flag is already incorporated into his projects as well as a universality that made his work spread worldwide.

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His father was an aeronautical engineer and the owner of an airline company. Would it be a misconception to imagine that the design came from there? It’s for sure a possibility, but above all of this, what is noticeable in his vision of design is: diversity, which is why we invited him to be part of this issue of Artnatic Magazine.

Diversity, search for accessible materials, show the possibility of placing quality design for a large number of people. When he made the first project for CAFE COSTES in Paris, it definitely opened the door to a new concept. The generous shapes stood out and at the same time the care for details.

PHOTOS: ŠJAMES BORT

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Louis Ghost chair (Kartell) that was sold in more than 1,000,000 copies, or about the first structure that he created that was inflatable and that he also renewed with materials.

One time, in a program in 2011, which was entirely dedicated to the designer - where he would choose an intern to work with him- several young people signed up for the adventure. The projects presented, the criticisms, the ideas that were flowing and the joy that was seen in the shining eyes as if he were also there in each project. More than being a mentor, what could be noted was that he delighted with the news, the ideas, the search for colors, textures and even the reasons for the projects. At the end of the adventure, an intern was chosen and her portrait was placed on the wall along with the other members of the company. We could read in her smile that she was not going to work anywhere. She was side by side with people who were chosen one by one.

Adventure and the desire to create do not diminish.

We could talk a lot about the Louis Ghost chair (Kartell) that was sold in more than 1,000,000 copies, or about the first structure that he created that was inflatable and that he also renewed with materials that were half forgotten and that, in fact, were no longer taken seriously in the industry and in the trade of furniture and much less of decorative objects.

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PHOTOS: Š STARCK BIOTECH PARIS / ŠKARTELL

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PHOTO: ©B&B ITALIA / STARCK NETWORK

He is also a passionate defender of the environment and, for example, he collaborated with the eco responsible plant that manufactures the sandals IPANEMA, which uses only recyclable material in its confection. Just like in his project with the Volteis car in 2012, an electric car.

We need to point out his great manner of never making objects or working on projects that are linked to weapons, tobacco, alcohol, oil and religion. Even if he could have made a lot of money from it. He neither has accepted nor will.

We could not fail to mention the fact that he has received the Honor of the Arts and Letters and Knight of the Légion d’Honneur and that he is also the first Frenchman to be invited to TED (Technology, Entertainement & Design).

Keeping his concerns about the environment, the SPHERE project of glasses frame, that brings together the technology and strength of the titanium 50% apple fiber has an incredible result! Light, beautiful and very resistant.

An interesting phrase that we find in his works is “A design without humor is not human”. For him, what lacks humor is vulgar.

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An interesting phrase that we find in his works is “A design without humor is not human”. For him, what lacks humor is vulgar.

In the projects of 2020 this vision is very present, for example, in the project “Oh it rains! L'humor...” for B&B Italia billborad furniture that can be used in the garden or inside, mixing different horizons with Antonio Criterio and Naoto Fukasawa.

At the Hotel La Réserve Eden au Lac Zurich is like rock and roll dancing with the Queen of England!

All of his projects have the STARCK brand, the big one, the texture, the "mise en scène". Perhaps, it’s an incitement to travel, to TAKE OFF ... on the wings of the planes that he saw in his father's company.

Is it?

Anyway, here we will show you some of the projects that he himself sent to us.

Success is a continuous jorney and we are already waiting for the next projects for 2021!

PHOTOS: ©GREGOIRE GARDETTE

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PHOTOS: ©NASA / AXIOM AND STARCK NETWORK

A visual of the ISS SPACE STATION, a project, this interior was create by Philippe Starck and belong to NASA and AXIOM. 88

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What is it that thing that makes someone willing to create perfumes?

Joelma Thompson Wirz

Imagining a fragrance and not only making perfumes for everyone, but also creating perfumes that are unique to a friend, someone special or yourself.

With Joelma Thompson Wirz you can ask for all of this. She knows how to adapt and translate your exclusive perfume into personalized fragrances.

When I asked what perfumery is for her, she told me that she sees it as art. That’s why she calls her place of work: THE ATELIER. Essences cannot be combined by chance, there is a logic, but an artist’s creativity transforms them into an artistic composition.

Born in Rio de Janeiro city, she moved to Cachoeiro do Itapemirim very young. It’s a medium-sized city, but which is also sunny and has beautiful colors as her hometown. Then, she went to Switzerland where she has been living for 30 years. Married to Patrick, a Swiss, she has two precious jewels: Lukas and Naomi.

A hard work life, very rewarding, though. Creating is like that, many hours to be able to distill the essence that will please someone. Guide, listen, feel... all the senses have to be used, a lot of energy, very good energy!

We asked Joelma a few questions to find out what the “alchemist” work she does is like.

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What scents do you prefer to put your ideas, your expressions in the perfumes you create?

Joelma: Each perfume I make is a unique work. As they are personalized, I have to think about the aromas that best suit each client, according to the profile and desire of each one.

At the beginning, I had to “fight with myself” not to give preference to the essences that I liked, I had to learn to put myself in the other person’s skin, understand and interpret what he/she wanted. And so, being able to customize the perfume to the client’s full satisfaction.

in her desire for a perfume, even indicating the predominant essence that she would like. And I go to that direction. A Brazilian client describes a moment, a place, she searches in her affective memory, the smell that she wants to reproduce in her perfume. And there is my Brazilian side that manages to interpret poetry and the way of seeing life that only we have.

When did the perfume adventure start?

Joelma: My profession was quite another: language teacher (French, Italian and Portuguese) and interpreter. Since the birth of my children, I decided to stay at At your company, do you work with people of other nationalities? home and take care of my family, taking a break from work. That is Joelma: Yes why so many got scared when I appeared as a perfumer. And it all started with a need for me to have a different perfum from what When you work with them (or for the “market” had to offer. I got in them) do you feel your Brazilian touch with a perfumer, one of the side or do you think it is a mix?

3 renowned in Switzerland, and Joelma: I can’t say if there is a she received me, I was delighted side that predominates, after so ... I fell in love. In front of me more long living in Switzerland, a lot of than 100 bottles with different my Brazilian side, in my way of essences, I felt like one child in a thinking and acting, it got lost, but in candy store. And the way in which essence (using a word to my dear) she spoke of each of them, was I am Brazilian . I give an example: magical. I went back home with a Swiss cliente will be very direct the decision to walk this road.

What are the next projects?

Joelma: I feel satisfied and privileged by the doors that have been opened for me, testing my ability and knowledge. This is what I want for my future.

Do you have any tips for a girl or boy who wants to follow this path?

Joelma: First of all, test your aptitude, it would be like saying to anyone who wants to be a singer if they have a good voice. The nose of a perfumer is your main instrument. It would be interesting to participate in Workshops where you can learn more about this world of charm and glamor, but also a lot of work and patience.

What are the values that you consider more important?

Joelma: Loving the others, one of the most difficult of the commandments. Feeling the pain that my neighbor feels, loving others is also to rejoice in the victories and achievements of others.

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ART AS PLACEMENT

May art be considered just as a financial asset like any other, or an impregnable sanctuary reserved for enthusiasts, collectors and historians?

Everything indicates, in recent years, that this safe haven has taken an unprecedented scale from a speculative point of view. And while it is true that the organized art market has existed for over 1000 years, we have never had so many exchanges and consumers of works of art worldwide. This can be seen as a first explanation for the growth of collectors and museums. But if investors are turning to art, it is also because regular investments are offering only low fees and money at the bank almost costing your shirt.

But the development of the art market at such a level would never have been possible without the Internet and the tools made available to users.

First, by making this trade less opaque for the uninitiated, especially thanks to the proliferation of information. So, freeing up trade in the context of a globalized world, paving the way for customers around the world.

However, all this should not make us forget that works of art are not goods like any other. They are unique, fragile, not interchangeable, not always mobile for technical or legislative reasons. The seller of the work, on the other hand, is a monopolist and the market in which goods are traded is more vulnerable than others to irrational behavior.

Artistic investment funds must take all of these elements into account in order to achieve their objectives and obtain returns that satisfy investors.

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In fact, experienced since the 1970s, this type of fund sometimes has less brilliant designs because managers have not paid enough attention to the characteristics presented by works of art.

They have not always integrated the human and subjective dimension of works of art, which allows investors to combine investment and aesthetic pleasure. As these works carried out collectively can have a strong identity, and investment funds have all the advantages of multiplying services to the holders. How to invite them to events, rent works or edit catalogs, for example. If certain services provided are charges, others, such as rent, can be a source of income.

In fact, a good fund manager should pay special attention to controlling structural costs. Because, if all the studies show that quality works see their value increase over time, however, they must be stored, insured, sometimes moved. Diversifying your fund well by purchasing goods from various segments of the art market is also a prudent way to manage your portfolio. Because the effects of fashion are also present in art and tastes vary from country to country.

It also remains to define a specific valuation method for this type of complex fund that must obtain recognition from financial institutions. All of these economic aspects must not make us forget the scope of art in our society, the satisfaction and the many advantages of coming together to buy art.

Alessandro BONFIGLIOLI Art market professor at the Paul Hankar Institute in Brussels.

Founding Partner in the OWL Group (Luxembourg), which manages funds and supports numerous clients in the administration and structuring of their wealth.

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Cupuaçu (Theobroma Grandiflorum), also known as the “Food of the Gods”, because a good and aromatic chocolate cannot be made only with cocoa. The chocolate alternative made with a very different flavor has extraordinary nutritional properties and a very distinct creamy-exotic flavor.